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According to Schultzberg "Molko said that he was 'tired of being the focus of Robert's rages against the world', and quite frankly, I was tired of being his".

While Schultzberg was with the band, several early works were recorded, including their first 7" single "Bruise Pristine", the "Come Home" EP, the single version of "Nancy Boy" (with B-sides "Slackerbitch", "Miss Moneypenny" and the Smiths cover "Bigmouth Strikes Again") and their eponymous debut album.

Molko, observing that Olsdal had a guitar strapped to his back, invited Olsdal to watch him perform at a local gig. As musicians you try to find a name for your band that represents you and you never really do, because, basically, names for bands lose their meaning after a while.

They become a series of sounds that you associate with people in music.

The most important thing for a name is that you can imagine forty-thousand people screaming it in unison.

Tension with Schultzberg and the rest of the group had begun to rise in the previous year.

Molko would go on to describe his relationship with the song in a 2016 interview as "very ambivalent", adding that, although he appreciates the fact that the song had been instrumental in their development as a band, he considers it immature.

"We were reacting very strongly against the machismo, terrace chants and revisionism of Britpop, and the nationalism that we interpreted as xenophobia of the musical kind.

A re-sequenced version released in the US featured a slightly different track listing, adding the aforementioned Bowie version of "Without You I'm Nothing" and the band's cover of Depeche Mode's "I Feel You". I think without exaggerating even the tiniest bit, we love it and we've never been so happy with an album.

The band initially fired him in September 1995, but he was rehired to record the first seven-inch single "Bruise Pristine".

After an argument in August 1996, Molko decided that it would be best for the band if Schultzberg left.

Due to this metaphor, the song was censored in the UK. Before, we were in a sort of rock'n'roll bubble, we were alternating the studio sessions and the live concerts, we were pretty much cut off from the real world.

It's dangerous to live too much in this kind of bubble.

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